Chasing Ghosts
by Scott Glasgow

“...in CHASING GHOSTS, there are those moments that
appropriately descend into the range of morbid-nothingness; however,
there are many of fiery intensity and subdued beauty scattered
throughout the soundtrack. ”

The Unusual
Suspects
Review by Christopher
Coleman

Over the last couple
of years,
newcomer-label,
MovieScore Media has
been behind the
release of a number of
listen-worthy
soundtracks that might
not have otherwise
seen the light of day.
Into MovieScore
Media's growing
catalog comes CHASING
GHOSTS by Scott
Glasgow.

CHASING GHOSTS, the film, isn't
really a
supernatural-thriller
as much as it is
another
cop-with-a-painful-unresolved-past-story.
Even if the story is a
bit of a rehash a la
mishmash, bearing a strong
similarity to the work
of director David
Fincher, CHASING
GHOSTS, does offer
some visual appeal.
While DVD buyers and
renters may take a
passing look at the
film, it might be well
worth the
film-music-inclined to
have a pause when it
comes to Scott
Glasgow's score for
CHASING GHOSTS.

Now, one would likely
expect yet another
wall-to-wall, atonal,
post-modern musical
affair for a film like
CHASING GHOSTS.
Additionally, with a direct-to-video
budget, one might
further expect that
the score would be
devastatingly
constrained down to
intangible,
synthesized nightmare-scapes.
I'd say that wasn't
the best of
combinations when it
comes to expecting an
entertaining film
score to listen to.
Well, in CHASING
GHOSTS, there are
those moments that
appropriately descend
into the range of
morbid-nothingness;
however, there are
many of fiery
intensity and subdued
beauty scattered
throughout the
soundtrack. So
CHASING GHOSTS rises
above the faults of
the "usual suspects"
when it comes to films
of this type.
The question is, "Is
it good enough for a
stand-alone listening
experience?"

With a total running
time of some 68
minutes, there is a
lot to listen to on
Moviescore Media's
release. The
"Main Title" (1) would
seem to be setting the
listener up for that
expected film-noir
trip, but 30 seconds
in, things begin to
change as Glasgow's
intricate employment
of strings begins to
tell the listener that
they're going to get
more than they
bargained for.
The second cue is one
of the most intense
and likewise, one of
the best. "SWAT
Raid" (2) is ripe with
intensity as Glasgow
takes a page from the
Elliot Goldenthal book
of intriguing music
cues. Powerful
brass,
adrenaline-filled
strings, and lumbering
timpani give the cue
serious backbone.
The next track,
Interrogation for
Viola and Orchestra
(3) might also start a
little bleak, but by
the time it concludes,
Glasgow as developed
it into a stirring
piece - reminiscent of
Hans Zimmer's work in
THIN RED LINE,
HANNIBAL or THE DA
VINCI CODE.
Track 4, "Parents"
provides nice contrast
as it is a simple
piano theme backed by
subtle synths.
Next, "Captains
Orders" (5) returns to
the realm of the
quasi-sublime with
menacing, echoing
strings. Things do
take a turn toward
"the expected" with
the dark and dank
"Flashback and Muder
Chaconne;" however,
following on its heals
is "Taylor Meets
Davies" (7) where the
parents-theme is
brought back and
romantically
heightened. With
two more tracks of
note, "Crossing the
Bridge" and
"Harrison," the first
half of the soundtrack
comes to an
entertaining
conclusion.

It is at the start of
the second half of the
soundtrack where
things become
comparatively
non-descript.
While Scott Glasgow
does manage to subtly
quote some of his main
themes, tracks 10 - 19
do become a bit
wearisome. The return
of the SWAT team,
brings back some much
needed intensity,
however. From
track 20, "SWAT Brief"
through "Warehouse
Chase" (23), the film
reaches its climax and
the music has the
energy to match.
CHASING GHOSTS
finishes on a somewhat
reflective note (with
the exception of "Totentanze").

One's level
appreciation of
CHASING GHOSTS' score
will depend largely
upon how much one
delights in the dark
and aggressive side of
film music, but not
exclusively. Even for
those who aren't so
keen on the
edgy-stuff, Glasgow
does deliver a number
of strong thematic
elements that
transcend the film for
which they were
composed.
Without at doubt,
CHASING GHOSTS makes
it pretty clear that
Scott Glasgow has what
it takes to deliver
the goods outside of
the film-noir genre.
For those missing the
film contributions of
Elliot Goldenthal or
even Don Davis,
CHASING GHOSTS and
Scott Glasgow will
likely have something
to offer you.